Posts Tagged ‘City Slang’

“I often say to my kids that the most creative thing that I ever did was to have the bravery to leave Nottingham and go to London: just to take a step because from that step so many things were allowed to happen.”

—Stuart A. Staples

Words: Mark Carry

In the liner notes for the classic Tindersticks debut album (originally released in 1993), founding member David Boulter describes the richness of ideas coming from the group: “We had so much music running through us and so many ideas, we knew we had something bigger to make, and we needed somewhere bigger to make it.” The immense batch of songs – including ‘Marbles’, ‘Raindrops’, ‘Patchwork’, ‘City Sickness’, ‘Her’ and ‘The Not Knowing’ – were recorded in the Stone Room, a studio run by Ian Caple, who helped the band achieve the sound they wanted. Across twenty-one songs, every moment on the debut record felt special. Magic emanated from the rich instrumentation, intricate arrangements and poetic lyricism. The same can be said for each and every Tindersticks record that followed. This original lineup of Stuart Staples, Neil Fraser, Dickon Hinchcliffe, David Boulter, Mark Colwill and Alasdair Macaulay possessed something utterly unique: a subconscious, deep conversation flows continuously between its members that is more than the sum of its parts. And this breathes deeply into the songs.

Two decades on, Tindersticks have a richness of ideas – echoing what Boulter writes in those liner notes albeit from an entirely different moment in time – that are fully realized on masterworks such as ‘The Something Rain’ and ‘The Waiting Room’ (marking the band’s last two studio albums, respectively). Every moment feels special. An infinite array of inspired moments fill these records that carves out a vast treasure of mesmerising beauty and sumptuous artistic detail. The current lineup – consisting of founding members Staples, Boulter and Fraser alongside more recent additions Earl Harvin (drums) and Dan McKinna (bass) – possess a deep telepathic connection that is not unlike that unique moment in time at the turn of the nineties.

The many projects that are interspersed between the band’s studio albums, from the monumental Claire Denis film scores – 2015’s ‘Les Salauds’ containing a beguiling electronic-oriented sound-world that signals yet another milestone – sound installations (from the Flanders museum in Belgium that is beautifully captured on ‘Ypres’) and this year’s spellbinding film and score ‘Minute Bodies: The Intimate World of F. Percy Smith’. This singular sound of Tindersticks continues to evolve and develop, forever navigating uncharted territories of both the heart and mind alike, never knowing precisely where such explorations will lead us.

‘MinuteBodies’ is a deeply hypnotic and immersive film and dedication to the incredible work of naturalist, inventor and pioneering film-maker F. Percy Smith (whose work spanned the early years of the twentieth century). Smith developed various cinematic and micro-photographic techniques to capture nature’s secrets in action (take for example the ‘Fly Acrobat’ film). In the words of Staples (director of ‘Minute Bodies’): “His work transcends the constraints of its time, and how it teaches us about patience, commitment, ingenuity and determination.”

The forming of the edit and its musical score evolved over a three-year period. The recording sessions features French percussionist Thomas Belhom and Christine Ott (piano) with cameos from David Coulter (musical saw) and Julian Siegel (saxophone). The score effortlessly maps the hidden beauties of nature that Smith so masterfully portrays onscreen: a true match made in heaven. The ethereal ‘Percy’s Theme’ opens the score with a beautiful delicacy and immersive quality, which leads into ‘Gathering Moss’ and its luminous dreamscapes with gorgeous female harmonies ascending into the foreground. Eerie drone passages are fused with cinematic flourishes on the epic tour-de-force ‘MagicMyxies’ and the gradual piano pulses of ‘The Strangler’ could be a long distant companion to the band’s ‘Trouble Every Day’ score. The timeless cinematic jazz exploration ‘Scarlet Runner’ echoes the work of Mikael Tariverdiev before the star-lit skies of ‘Percy’s Dream’ (Reprise) drifts majestically into the ether.

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‘Minute Bodies: The Intimate World of F. Percy Smith’ is out now via City Slang.

Congratulations on the ‘Minute Bodies’ score and film; it’s very special. When did you first come across the work of F. Percy Smith and what led you to go about the project in the first place?

Stuart A. Staples: I wasn’t planning to; I just caught a glimpse of his work – well not necessarily his work but this microscopic world – and I wanted to find out more. From that I found out that there was a few things available on compilation DVDs, I got hold of that and just started making music; that was like three years ago so gradually I’d been able to get further and further into the archive and gradually pick up the support of the BFI. It’s been a long process, it was more like a hobby for a while and it finally got finished up like that after three years working on it – not solidly but sometimes it was an antidote to some of the other things I was working on.

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As you say, it feels like a labour of love in many ways. ‘Minute Bodies’ in a similar way to the scorework of Tindersticks and many of your projects in the past, they act as a record in itself (in terms of the music). I wonder for the music of ‘Minute Bodies’ and to score the visuals, did you have the film edits in mind firstly or was it more naturally coming together at once?

S.A.S: I think the first thing I thought was more about people: about musical characters that I knew and I thought that the first steps probably was to get together with Christine Ott who plays the Martenot and Thomas Belhom who is the French percussionist who we work with and David [Coulter] from the band and see what happened. We had a few days together very early on and we prepared some loops and some atmospheres and then I had chosen some parts of the film that I thought were exciting and so I brutally edited something and brutally prepared something. And then we started – we had a few days playing – it went so well that it just asked for more things to happen and I think that was the story of the project really; every time we took a step it asked for something else to happen and that’s what made it like a gradual thing. I think being for the first time in charge of the image as well as the music created this space where the pictures would inspire the musicians and the way the musicians reacted had an effect on the edit so it was always talking to each other that both elements were always having an effect on us.

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It’s amazing listening and watching the finished piece, just how much of a dedication it is to F. Percy Smith’s life and work. Originally I presume there were voice-overs and over-dubs and nothing like it is now?

S.A.S: Obviously I think that when you look at the original educational films now, they feel incredibly dated for me but I felt this pure photography of Percy’s and this intimate moment between him and his subjects – whether that was developing frogs or whatever – there was this intimacy and solitude I felt with his photography. And I think taking that away from the educational films and the context and story and the educational element, the images felt free and wanted as well to deal with something today and something that our lives today are seen in a very different way and I think that was an exciting process.

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And with the music, I love how it feels like one cohesive whole where the pieces flow into one another. Certain pieces – like the lengthier tracks – like ‘Scarlet Runner’ and ‘Magic Myxies’ continually build and draw a lot of elements as they build.

S.A.S: I think to me I was more or less in the middle of so many great musicians that would be inspired by these great images and I just had to be the guy in the middle directing it: enjoying it but also keeping an eye always on where the direction it was heading in. I think that’s the enjoyable part about what I do really I suppose; I had maybe three days with someone like Julian Siegel, a couple of days with David Coulter as well as the band, there was a real richness of ideas of people taking Percy’s things and the way that inspired them and making something of their own out of it and contributing to the overall colours within the music, it was pretty exciting. And I think it was very different to what we’d done before but I think also as a process you can feel it changing as a band, as a group of musicians as well and playing the score live; it’s not like any kind of music we had to play live before. It’s actually having a great, subversive effect on us I think as a group of people.

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It must be very exciting for you and the musicians to be playing the score live at these cine concerts. It’s something new but I suppose in recent years there’s been so many different mediums that you’re loosely involved with alongside music.

S.A.S: I think it’s important when you’ve been making albums and playing music for so long I think it has to find different ways of trying to keep being inspiring. And we have to be with each other and play music together, it would be impossible for us to play music together if we weren’t excited by everybody’s input. So I think it’s before we try and change shape, put yourself in a place where you’re not so comfortable and see where that takes you. And I think that’s been the key to I suppose the second part of our career. We had an original line-up and we came to an end, I think we ran out of conversation and I think a lot of that was to do with a semi-successful band; writing, recording, touring and with the cliché of that kind of turnover. I think with the last ten years it’s all been about not falling into that but actually having the confidence to follow your ideas and to where they take you but not feeling bound by these structures that exist and that has kept us alive and engaged.

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It’s fascinating to think of the second chapter of Tindersticks – from ‘Hungry Saw’ onwards – it’s always exciting to discover each new release and the new ideas and directions for each of them. For example, ‘The Waiting Room’ – the last studio album – it naturally evolved on from ‘The Something Rain’ and the films made for each song was also very interesting.

S.A.S: It’s all been good and exciting. I think for this line-up – the second line-up of the band – it took us a couple of albums and we had a hard act to follow as well [laughs]. At the beginning our original band was a really fantastic, subconscious thing to be involved in and I never thought that I would end up in another great band in the way that they worked together. So, I think it took a couple of albums but when we got to ‘The SomethingRain’ I think there was something going on between the five of us and again the music became more of the sum of its parts. That led into ‘The WaitingRoom’ and working with Claire [Denis] and working for the museum in Belgium [‘Ypres’] there’s just a different kind of breadth to our work so it’s been a good time.

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I get the impression that each project and release must feed into the next like how you’re inspired by ‘Minute Bodies’ right now and how that must filter into the next Tindersticks album and so on?

S.A.S: That’s for sure. I think one of the reasons we’re still here and playing together is because of the work with Claire Denis and I think that she has always dragged us away from our thing and made us look into a different place and work in the more extreme parts of what we do. By the time we come back to working on our own music again we’re always changed. I think working on the soundtrack for ‘WhiteMaterial’ really fed into ‘The SomethingRain’ and working on ‘Les Salauds’ have had such an effect on our music; everything is always talking to each other. I’ve got no idea of what the band is going to make next but I’m looking forward to finding out.

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The sound installation that is beautifully captured on ‘Ypres’ was another new venture for you and where it was and the history steeped inside it?

S.A.S: I suppose I believe – or maybe I’ve always believed it but just having the confidence to stand by it – if you have a strong feeling for something that you can find a way to make it happen and I think for ‘Ypres’ that was a real example of that for me. I stood in this place and I had this idea but I thought ‘how do I achieve that?’ but I think you have to find the right people to help you; the right people to put these ideas in place and you can actually figure out a way to get to where you need to go. I think ‘Ypres’ in a way was a real lesson that if you’ve got a strong feeling – even if you don’t know how to make it exist – find a way to get help to do that, it’s a good thing.

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It’s always beautiful seeing these long-term collaborations and Claire Denis and Tindersticks is one of those really wonderful stories that started so long ago and continuing with strength and strength. Looking back over the different films and scores, is there similarities or common elements in terms of creating music with Claire for the scores themselves?

S.A.S: I suppose fundamentally every score has pushed us into different directions. We have this relationship and we have this conversation or narrative going on, I think what the actual ideas have; that’s where the real differences come and I think you can’t help but look at these ideas in different ways. I think for a film like ‘Trouble Every Day’ the ideas came from before Claire had even written it, she was talking about how she wanted to make a film about lovers and why lovers wanted to bite each other. It started off as a very romantic thing for us but I think by the time the film was made tough kind of erotic film really, the score is so romantic it created a very special relationship I think between the images and the music and that’s one example.

With ‘LesSalauds’ – the film before our last one – that was more about the idea of a sailor and when a sailor sees his life as simple and his work is ordered and he doesn’t have any worries but when he puts his feet on dry land that’s when all the complications start. And I think for the main character, the sailor is coming back to Paris to sort out a family problem. I think from that point of view we started thinking about the music electronically so even though it was set in Paris it was for me putting myself into this strange world that I wasn’t sure where I was for ages; I found myself surrounded by machines that I didn’t know how to use. I think that created a strange world within the film and there was a certain uncertainty about it. I think each one has asked for different things and even the last film it’s totally different again. I think it’s how something comes at you and affects you, how she feels about it, how she gets inspired and I think that she’s always open like that.

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The electronic elements in ‘Les Salauds’ worked so well, it was so compelling this journey it takes you on. And the ‘extreme’ sounds of the band you have already mentioned, you can really feel that particularly on the band’s last two albums: it may be only thirty or so minutes long but the range of ideas and sonic elements within each song; it’s fascinating just how much happens in that space of time.

S.A.S: I think the work on ‘The WaitingRoom’, you just don’t want to deal with anything that you’ve dealt with before and I think that’s hard. I think say for Neil’s guitar on ‘The SomethingRain’ we found this great space for Neil’s guitar and a great sound for it: it was very particular and it came out of so much experimentation, we found this one thing that runs through the whole of the album and Neil’s guitar on ‘The SomethingRain’ is just so fantastic. But it need snipping off [laughs] because I think you start looking for new things and I think ‘The WaitingRoom’ Neil is present as he ever is but it’s just in very different ways, he plays a lot of nylon string guitars; it’s just looking for different colours, different combinations within the songs, different rhythms: you just want to feel as though you didn’t get into this place before.

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It’s something that started back in the early days but those spoken word songs like ‘My Sister’ and the sister song ‘Chocolate’ that opened ‘The Something Rain’ and the incredible ‘How He Entered’ are some of the finest of the band’s songs.

S.A.S: Well they’re both songs by David [Coulter], ‘MySister’ and ‘Chocolate’ so they’re very much him; his personality whereas I think ‘How HeEntered’ to me is more akin to a song like ‘Marbles’ from the early days, I think it had that kind of connection. I think David’s songs and David’s ideas are always very, very particular to me and very, very special within what we do, so it’s like another different angle to come into the big mixture I suppose.

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I’d love for you to discuss your studio and it’s obviously the space in which so much of the music has been made and recorded over the years and what makes it so inspiring to record in?

S.A.S: I think the space itself and feeling that you are in a space that is inviting and open to what can happen I think is really, really important. I think gradually along the way I’ve learned about recording and I’ve learned about the elements of recording that I like that I tend to stick to (which is probably a bad thing) to do with microphones because I’d like to make my job as easy as possible in a way because I spend so much time alone, I want to know what I’m going to get if I’ve got an idea and I want to capture it, I want it to be as straight forward as possible in the recording. Having a studio it’s not like having a recording studio to me, it’s a studio that’s there to go to whether you’re recording or not where different things can happen but the space itself is a very special space to me.

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In what way do you feel leaving the UK and living in France has helped inspire your music?

S.A.S: I don’t think necessarily about being in France but I do think about leaving the place that you grew up in that becomes the thing that defines you, I think cutting something like that away brings a certain kind of freedom; it brought me a certain kind of freedom. Talking about my studio, I don’t think about it like “this is this place in the middle of France” I just think to me when I am in there I’m somewhere in Europe; I don’t think that I’m rooted into one place. It has that kind of relationship where it feels divorced from everywhere really, it’s just a place of its own. And I think I wouldn’t have been able to find that even if I could have or would have been able to have that in London, I don’t think I would have got to this point in the way I think about what I do .

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Going back to the original lineup at the turn of the 90’s, you must have strong memories of forming the band and this group of friends making music and particularly the demos for the debut Tindersticks record and how surprised you were when you heard what you were creating as it’s such a singular sound?

S.A.S: That record has a little story. We made a mini-album with Asphalt Ribbons about eighteen months before and we gave ourselves up to that kind of mentality of the music industry, somebody gave us a little bit of money and we gave it up to a studio and a producer to make this record and we walked away from it feeling deflated I suppose. And then we just moved to London and everything that that entails and we spent individually – especially for myself and David – we spent a long time – years and years – trying to getting people to engage with us in some way and not very successfully at all. I think what happened was after one disappointment after another it was like ‘let’s not try this anymore, let’s just do our own thing’.

I think from that moment and also I got a job at a Rough Trade shop and I was just surrounded by – in the early 90’s – all of this energy in London and lots of small independent labels. It was like let’s just make a single in our kitchen the way we want to make it and we made ‘Patchwork’ in our kitchen and we managed to sell 500 copies and then we thought about what would be next and we made ‘Marbles’ and we sold 1,500 copies and we made everything ourselves. And I think this was all leading towards making our first album and we demoed the first album in that situation (in that kitchen).

The demos, for me, are when the excitement really happens and when we went to make the album; the songs were there, the ideas were there but then working with an engineer like Ian Caple, it enabled us to bring the most out of sounds, the whole thing was elevated and making that record it was a surprise: there was a moment when we collectively looked at each other and there was a bit of a moment of ‘wow this is actually really happening’ [laughs]. You can’t really have those moments twice in your life but I remember it very distinctly.

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It’s wonderful to think that the music spans from those early days and so much sparks were happening subconsciously between you all?

S.A.S: I think it was a real moment in time. I often say to my kids that the most creative thing that I ever did was to have the bravery to leave Nottingham and go to London: just to take a step because from that step so many things were allowed to happen but sometimes I think those steps are the hardest to take; you don’t get a direct reward from them but you can put yourself into a situation where things can change and things can happen and it is so important to keep a grasp of that as well.

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Another important period was after the band’s hiatus and your two solo albums – both quite different – with some of your finest recordings captured. This must have been a particularly important and creative time for you?

S.A.S: I think they’re both very different to me and I think for the first one [‘lucky dog recordings 03-04’] it’s probably up there as my favourite thing that I’ve ever made. There was a certain stripping everything back to an end of a starting point and that record to me hasn’t got such a connection with ‘The SomethingRain’ or ‘The WaitingRoom’, it hasn’t got the technique or the confidence but it has desire and it has the ideas; that was a point in time when I think our original line-up of the band got trapped into making music in a certain way and I think that maybe when characters are just together constantly for that amount of time, writing and making music together it maybe becomes impossible to not fit together in a certain kind of way and the more we fit together the more disappointing it was in a certain way.

And I think with making ‘Waiting ForThe Moon’ it was a very long process and it was very considered but it’s got some really great songs on there I think but at the time I just needed to make something raw and something willing to be ugly; that’s what the idea asked for. It was something that gradually grew in my garage and I think for ‘Leaving Songs’ it was a burst of songwriting, probably the only time that I had written songs of a certain way like that was probably for the second album because all of the songs on the second album were more or less written in a space of six months. Whether it’s ‘She’sGone’, ‘Talk ToMe’, ‘TravellingLight’, ‘A Night In’, all of those songs I can’t really imagine writing that many songs now in a certain period of time but ‘Leaving Songs’ was like that too, I just kept writing them. I just felt like I had to be true to them and maybe get rid of this Nashville thing that has been inside me since I could remember [laughs], it very much helped me to leave that behind so I’m pleased about that.

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And there’s certain pieces on ‘Minute Bodies’, particularly the dreamy soundscapes like ‘Gathering Moss’ with the female harmonies, really transports you to that first solo album of yours.

S.A.S: Yeah I can see that. The thing for me about ‘MinuteBodies’ is if I think about that track it was one of the first tracks that we wrote. It was exciting to feel as though it was without a centre; that the centre of the music is the image and the music is kind of like a donut or something, it’s not something solid in the middle that holds it there. I think that’s whats really exciting about ‘MinuteBodies’ it all just holds in the air somehow and that’s pretty exciting.

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Is there any records you’re obsessed with lately?

S.A.S: Three years ago I was introduced to Kendrick Lamar by one of my sons, he was playing ‘Good Kid, M.A.A.D City’ back to back and I’m surprised of how this guy has had such an effect on me, not going to make music like him but I’m talking about just feeling in tune with the way that he makes music. I think that he’s a very rare artist and that has rekindled a love of a certain kind of music that’s more direct and more about the song and his progression from then has been quite something. I’m glad that’s that’s been in my life the last few years.

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‘Minute Bodies: The Intimate World of F. Percy Smith’ is out now via City Slang.

“It’s always a wonderful and fun process to create new music where you actually find yourself unfolding something new and I think that for me is always inspiring and refreshing.”

—Volker Bertelmann

Words: Mark Carry

A wealth of magic emanates from the scintillating piano works of Germany’s Volker Bertelmann. Under the guise of Hauschka, the gifted composer has released his most ambitious, radical and enthralling works thus far. ‘WhatIf’ feels like a culmination where the dynamics of Hauschka’s incendiary live performances – particularly post-‘AbandonedCity’ with his shows often built around one single, three-dimensional long piece that continually weaves in and out, unfolding into an infinite array of possibilities – becomes etched across the record’s deeply fulfilling journey.

I recall fondly an interview with The Necks’ pianist Chris Abrahams and some of his words echoes powerfully throughout ‘What If’s otherworldly sound-world: “Sometimes, through the combination of a strange instrument and weird acoustics, I have heard the piano speak words.” As the fragile piano melodies of ‘My Kids LiveOn Mars’ morph into reverb-laden tones amidst deep bass techno flourishes, the piano speaks words so absolute and true. It feels as if Bertelmann’s piano-based odysseys are navigating the deepest parts of our inner selves, a cosmic exploration of immense magnitude.

A circularity resides in these nine sublime texturally rich compositions where certain piano motifs (the rhythmic pulses of the player pianos masterfully employed in several places, for instance) and far-reaching, dense textures (deep techno bass and analogue synthesizers depicting a dystopian universe) circulate the divine minimalism of Hauschka’s singular soundscapes. The record’s penultimate track ‘Trees Only Exist InBooks’ transports you to another realm with the suite of synthesizers and piano patterns forming an ethereal bliss of faded dreams. This piece somehow feels inter-connected to Mica Levi’s ‘UnderThe Skin’ score, such is the intoxicatingly bewitching sounds that are masterfully sculpted.

‘What If’ is the sound of a producer as much as a pianist. Hauschka’s piano-based tracks of earlier works still remain, albeit as sacred artifacts buried beneath a sea of beautiful noise and electronic elements. New patterns and shapes are forged at every turn, sharing parallels with Lee ‘Scratch’ Perry’s Black Ark studio of miraculous sound creation and immaculate hip-hop production. ‘WhatIf’ asks for reflection of the deepest kind.

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‘What If’ is out today on City Slang (Europe) and Temporary Residence Ltd. (USA).

From your live shows, you have focused more so on creating one long piece – and obviously that’s something you’ve been developing a lot since ‘Abandoned City’ – how the different ideas and motifs from these performances must go into the new album’s recordings?

Volker Bertelmann: I actually recorded a lot of the music in Berlin with Francesco Donadello and we were setting up the studio like in the way I am doing a concert so we had the two pianos. So, I was performing in the way I was performing live and that was the foundation for at least six tracks of the album and the other three tracks were tracks with player pianos.

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The player piano is something new for you, is it?

VB: I have played it at the Brighton festival two years ago and I also played a release show of the ‘Abandoned City’ album in Berlin. I’ve wanted to find a way of playing multi-track things with an acoustic instrument. So I figured out it would be nice to have two pianos to be my band and that was the first thought of it and then I felt very good about preparing one piano as a drum kit and preparing the other piano differently so I was very happy about that.

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It feels as if the record goes further and deeper than even the previous releases and particularly the electronic element is very important and where all the many elements come together so well?

VB: Yeah I agree totally. It was challenging because when you work with the player pianos, you have your hands free to actually prepare the pianos with all sorts of stuff while the piano is playing. It was very interesting to work with. I really feel attracted to the precision when working with the player piano because you cannot force create a very electronic and precise score using the prepared piano and that’s very nice.

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Did the more analogue equipment like the synthesizers you’re using, would these have been the same equipment used on tour and on previous releases?

VB: No, actually this time I’ve used different equipment. I mean I was always a synthesizer man already when I was young and I collected a lot of synthesizers but I had the feeling on previous records that I didn’t want to use them. I’m not a big fan of this Jean-Michel Jarre kind of repetitive sequence for using the synthesizer in a particular way. So, I was using an old Roland Jupiter 4 synthesizer and using a Minimoog , which is one of my favourite ever synthesizers and that’s mainly it.

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I think the pinnacle of the record for me comes on the penultimate – and longest track – ‘Trees Only Exist In Books’ it feels like these mesmerising strings arrive in halfway through , it really sums up how far-reaching the entire album is.

VB: I was thinking as well about my hip-hop times because there is also a lot of songs that have a little lower tempo but they’re still clubby in a way and there’s some neatness to them. And they’re at the same time not only house or techno tempo but they’re a little bit more in the middle like 100 BPM or 90. I felt like some of the tracks would be nice to get into that channel again – when I was twenty to twenty-five – where I was listening mainly to hip-hop artists and I’m always a big fan of that. Some of the tracks are a little bit oriented on that time as well.

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Listening to ‘What If’ you can really hear the sound of a producer as much so as a pianist. For instance, the production of ‘Familiar Things Disappear’ with the transforming sounds throughout.

VB: Yeah totally, I mean it’s something that I’ve always done. I think it was never a part of my previous records because I mainly just played one track and that was it or a little laptop overdubs. But I have the feeling that I want to go more into a direction where I can go more extreme and I felt like this is maybe the way to go.

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The album – just like all your previous records – there’s always very much a narrative or a particular chapter with a beginning, middle and end and the pieces on ‘What If’ certainly all feel closely connected with each other.

VB: This time I recorded twenty tracks with this kind of style and at the same time I was recording more piano pieces that I haven’t released yet, about forty that have nothing prepared and no electronics, just one take with me and the grand piano. I have the feeling that I have to switch between my work having all these sounds and my work that has the clearness of the piano; I love both of them so I’m trying to switch between those two styles.

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Throughout ‘What If’, there’s like a series of contrasts and wide range of sounds and I love how ‘I Can’t Express My Deep Love’ fits so nicely in the middle, the more bare piano compared to the rest.

VB: This one song ‘I Can’t Express My DeepLove’ is actually from one of those takes that were pure piano recordings and I used this specific track on that album in the middle because I wanted to cut the tracks a little bit in half. This is the only piece that does not belong to the session I did altogether – this was a completely different session – from that session I have many more but I want to focus right now on the more textural and more electronic and darker side of the music. At the same time, I’m doing a lot of film scores, there’s a lot of music out from my workflow that is very melodic and beautiful and so I felt my own music wanted to be a bit more edgy.

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A track that just turned out amazingly is ‘My Kids Live On Mars’ and how there’s this fragile piano and that deep bass sound that floats in the mix.

VB: I really tried to find the balance between my melodic and my rhythm sides but at the same time I also feel like maybe the pieces are not only getting more diverse but they’re a little bit more like a composition, for example more pattern oriented music, which maybe in the beginning it was much more repetitive and I slowly feel like I can give the music more the sense of a journey and let it feel more like a composition that goes in and out and that has more different themes involved.

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It brings you to your live shows as well, especially after ‘Abandoned City’ where some of the shows had this feeling like it’s this blank canvas and you start at one point and you don’t know where you’re going to go from that point on.

VB: Yeah absolutely, that’s what my intention was to actually connect those two worlds with each other.

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VB: I remember how you mentioned before how much an inspiration Nicolas Jaar was for you and it’s actually his first album ‘Space Is Only Noise’ that shares that atmosphere and dimension when revisiting your new album.

VB: Totally, I think above inspiration, music that you listen to where maybe a part of your world is incorporated where you feel like this is something that where the mixture is different from where you normally would mix everything up. But I think especially with Nicolas Jaar’s way of combining real instruments with a DJ approach is very nice and I have a feeling there are elements in there that I would say a musician would do differently in a way when you just come from the instrumentalist point of view. And I really like how he’s dealing with samples and how he’s like weaving it into each other, I really love that.

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In terms of your own studio – you mentioned how one part was made in your own studio and also in Francesco Donadello’s studio– is this set up where you create most of your work in general?

VB: Francesco works a lot with Johann Johannsson and Dustin O’ Halloran and he mainly mixes a lot of their albums. He went on a couple of tours with me, doing my sound and I know him from back in the early days when he was in the band Giardini di Mirò. He also mixed the album and he had a different view on my music, which helped as well because I wanted to find somebody that I feel very close with in a way but at the same time I wanted a viewpoint of looking into the mix and finding maybe weaknesses or strengths. In his studio [Vox-ton] they have a Steinway D grand piano and I was very inspired by that piano so I think I will get one pretty soon. But at that time when I recorded the album, I had no grand piano and I wanted to have this full-bodied sound. All the albums beforehand were made with an upright.

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And once the mixing stage is completed then, is it a case of doing overdubs and other final tweaking by yourself?

VB: Yeah, I mean mostly I’m trying to go in different places. In previous albums I was mostly recording the albums in my studio so the whole workflow was already clear, I just started it and recorded something and then I finished it in a way. With my workflow this time, it was forcing me into a different field, make an appointment and just go in by yourself and start recording as much material as possible and then go back with that material to my studio and mix that with stuff I already had. There were a lot of tracks of mine that were very, very rich in how I worked with them because there was already an option of live recordings and rich textures that I had collected.

So, this time I said I’m working much more like in the live situation as you mentioned but in a very good surrounding with great microphones and all sort of stuff. So, I am very pleased that it turned out so well especially as I was doing two films at the same time, back to back. And I was not sure I would be able to do it but I’m very happy in the way – like the flip-side in what I was doing with the moog in a way.

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In the moment that you have laid down all your tracks – and you know there’s obviously a pool or a well of material to choose from – I wonder is that a fun process or is it challenging to select the right parts, considering the wealth of material that has gathered?

VB: I mean you know yourself, you have for example the opportunity to find out when you work best and a lot of times I have the feeling that I need some pressure when I’m working best and not pressure that is stressful but it’s more like I’d rather wait longer to the point where now I have to start otherwise it’s taking too long. So, that’s how I work and so a lot of times I’m trying to force myself into the situation where I have to move. It’s always a wonderful and fun process to create new music where you actually find yourself unfolding something new and I think that for me is always inspiring and refreshing. I’ve never failed so far making a record and having the feeling like it’s painful or I won’t get this done, so far I’ve been lucky [laughs].

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I must congratulate you on the ‘Lion’ score you did with Dustin O’ Halloran and the many nominations you received for this music. Like you said about Francesco Donadello, it must have been a real pleasure to create music together with Dustin?

VB: I mean he’s the most humble, non-egotistic person in the world and that makes it totally nice to work with somebody who you can actually work on the creative side but you never have to battle the human element. But you know with musicians it’s not always easy because musicians of course want to express themselves and they want to be seen in the right way and at the same time when you have to make a movie it’s also a service and it’s also collaboration with the director who has certain ideas. So you have to decide what’s best for the film rather than for your own artistic expression. And finding that balance was so easy with Dustin and we are already long-time good friends so that was a pleasure to experience this whole journey with him.

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As you mentioned previously, you obviously had a big starting point with hip-hop and a love for rap music, I’m curious to know would there be defining artists and records for you from this world of hip-hop that was very important for you?

VB: I was always a big fan of Timbaland as a producer and I love his way of approaching rhythms. I was a fan of N.E.R.D and all their records, it had the minimalism, which was the most interesting thing for me: how they work with beats and so I would say these two. And also, of course all the work that Timbaland did with all the collaborators. There’s also one collaboration with 2Pac and Dr Dre that I really love. This kind of hip-hop production for me was very inspiring I have to say.

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With your tour coming up, it must be exciting to have this new music that’s so fresh, it must make the experience of the live show different and new again for you?

VB: Totally. I’m trying to prepare right now. Touring and finding the right sounds and the right lights and I am working again with Michael Buchholz who is doing the sound and we’re travelling with a light guy. But you know what I don’t want to do is like I’m not going towards the stadium show – I’m not a big fan of that – I rather smaller and more intimate spaces, I have to feel the audience, so that’s what I’m aiming for on this tour.

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‘What If’ is out today on City Slang (Europe) and Temporary Residence Ltd. (USA).

“I’m drifting big time—I’m drifting away a lot of times while I am performing.”

—Volker Bertelmann

Words: Mark Carry

A wealth of magic emanates from the scintillating piano works of Germany’s Volker Bertelmann. Under the guise of Hauschka, the gifted composer has carved out a string of phenomenal neo-classical masterpieces from spontaneous improvisations (‘The Prepared Piano’); ‘Ferendorf’’s ode to his childhood home in Germany (which features intricate arrangements of strings and brass); the ‘acoustic techno’ of ‘Salon des Amateurs’ and ‘Silfra’’s gorgeous collaborative effort with violinist Hilary Hahn and 2014’s career milestone of ‘AbandonedCity’, revealing the artist’s crowning jewel thus far.

2015 saw more indispensable Hauschka-related releases – and a continuation of the ‘AbandonedCity’ story – in the form of ‘A NDO CY’ (featuring gorgeous outtakes from the ‘Abandoned City’ sessions and sublime remixes courtesy of Devendra Banhart and Eluvium) and the (vinyl-only) live record ‘2.11.14’ comprising of two exploratory 20-minute improvisations built on themes from ‘Abandoned City’. This captivating and otherworldly stream of consciousness emitted from Bertelmann’s singular creations (and particularly displayed on the revelatory experience of the aforementioned live record from the small Japanese village of Yufuin) brings to mind the collected writings of American composer Morton Feldman [‘Give My Regards to Eighth Street’]. A similar sentiment can be shared with Feldman’s description of Varese’s music and the 21st century modern composer:

“He alone has given us this elegance, this physical reality, this impression that the music is writing about mankind rather than being composed.”

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Interview with Volker Bertelmann (Hauschka).

I absolutely love the two-track improvisation vinyl release you did more recently. I love the fact you can feel the remnants of ‘Abandoned City’ but you are going further and deeper where there is more freedom and space within the music.

Volker Bertelmann: I was trying to get things a little bit looser because while I was performing a lot of shows with the ‘AbandonedCity’ album, I realized that I did not always want to repeat the same program. I was thinking rather of creating this atmosphere every time a little bit different and so I did and that in a way was quite a random coincidence. We were recording the concert; it was not planned at all so we were just pressing record on the mixing desk. Then we found out it sounded very nice and in a way it fits very nicely with the live record and the last vinyl ‘A NDOC Y’ where we had extra takes and we said we wanted to release them, and as well the remixes. I felt that it was quite a complete picture of a period that I was working in.

VB: In a way it’s a very nice fact that when your career is growing – mostly you grow and grow and grow and you go into bigger venues and then suddenly you’re at the biggest venues where you hardly have no time and a lot of things are going on auto-pilot. What I like about a lot of parts of my career is that I have things that are growing but at the same time I have the chance of working on projects that are quite low-scale, in terms of going into remote villages and playing there or I play in special, small places like in libraries or small Buddhist temples which I really like. It’s not straight away swamped by fans [laughs]. It’s very nice that I can go there and there is a delicate atmosphere but it’s not empty. In this quite remote village [Yufuin] there were quite a lot of people coming from other cities outside so it was a nice setting in this museum kind of building.

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As you say Volker it was spontaneous but I wonder on some level was the music in some kind of way a result of your surroundings?

VB: Oh absolutely. Mostly, even when you prepare a set or when you have a steady program for every evening you are always influenced by your day. So you arrive at some point at the venue or at the place where you are staying or sometimes you are early so you can stay at the hotel or you can hang out. Sometimes you are pretty late so everything is in a kind of rush. And then you don’t know the circumstances of the venues—sometimes they are great and sometimes not so great. In a way, there are a lot of things that are piling up. And what is nice is actually it doesn’t matter how the day was, somehow the performance that you have is a mirror of your day and I think that is very lovely because for the people who are coming you present them what you are experiencing over the day that’s actually inside of your music. And maybe when you are improvising and you have an open concept of performance it’s much deeper in this concept rather than having this solid set-up where you know the light is switched on at this song—you have an automated drama in a concert [laughs]. In my case that’s a little bit more an influence of the day.

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I suppose with the act of travel and seeing places there is a nice parallel where the music is accompanying that or vice versa?

VB: Yes, exactly. In a way I also like the idea that the music that I play is part of the day and not the only part of the day that is important. I think that when I am travelling somewhere of course I spend most of the time on the road or on the train: looking at things, I’m seeing things, laughing at people; there is a lot of interaction happening. Then in the evening –just this one-and-a-half hour – is this concentrated output that you have, maybe absorbing the day’s experience. But I think this one-and-a-half-hour period is important but it’s not the only thing that matters. All the rest in a way is on the same level.

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On Part I of the improvised music contained on the live record ‘2.11.14’, there is a beautiful, gradual rise in the piece – a quite mournful piano line – which comes back again during the twenty-five minutes. You can hear elements of ‘Abandoned City’ but I love all the textures and detail that develops over time.

VB: That’s very interesting that you mention that because it’s in a way the purpose that when I find an area it feels right and I want to create something that is attached to the album and bring in a theme or an element of that and of course I am expanding that. I have a couple of recordings of concerts where I played for example ‘Craco’ which is actually the piece which is appearing on the live record in the area where you mention – there is the melody theme of ‘Craco’ which is coming in – and this melody sometimes I play this piece so slow—it’s like it’s stretched into a drone and you hear the melody very slowly. And I like that remix aspect that I’m remixing actually live – not with DJ tables – I’m bringing in elements but while I’m playing them I’m taking them apart using just sound snippets.

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That’s another thing Volker, I can imagine the influence of electronic music is something you can really hear even though funnily enough most of the sounds are not of electronic origin whatsoever but you can hear that whole world of electronic and dance music in more recent Hauschka records.

VB: My purpose is to get away from the cheesy piano music and that was in a way the purpose in the beginning of my time when I started piano in the age of 9. But at 14 I was already in the area where I was much more attracted to bands and to music where you can have a lot more different sounds like I was working with synthesizers. At that time, I played of course a lot of piano but the piano is a very difficult instrument because there are so many clichés and when you start playing it and play a few chords, you already have an association with something that was already happening at some point. So it is very difficult to use the instrument in a way that it feels right and also sometimes that it feels edgy and maybe new. So I really tried in the last couple of albums, after going through albums that were very melancholic and melodic and beautiful. Even in the ‘AbandonedCity’ record I had a small record that was called ‘I Close MyEyes’ that was completely piano pieces without any preparation and has very little, delicate piano pieces. But I wanted to get away from the normal use of the piano and how you normally approach piano for myself, just to be happy with the instrument and not like getting into an area where people are wanting me to play the romantic piano music they can dream [laughs]. But I think there is still an element of this dreaminess. I know that a lot of people who are coming to my shows and who are writing to me after the concerts, they say a lot of times that they totally lost time and drifted away from their everyday life and to get somewhere else. That for example is something that I really love but I also want to challenge myself and them as well in the way they get refreshed so that they don’t get every time the same kind of package.

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Well I’m sure that must happen for you as well when you are playing especially as you say when some of these tracks are so long there must be a great sense of freedom when you are literally at your piano doing something spontaneous but it can last so long.

VB: Yeah absolutely, I mean that helps me. I’m drifting big time—I’m drifting away a lot of times while I am performing. That is for me a very nice working environment because I am always quite fresh and I’m uplifted every time I am performing and that helps me so much in a lot of ways because I can then decide every evening if I want to keep it short; every day you have a different mood and you can’t actually avoid that. And I don’t think that professionality and offering people in our day’s music has to be like in real time because you don’t get so much real time events anymore: a lot of things are planned and things are already predictable and people know already what’s coming up. So I think it’s very nice when they can participate on an evening where they maybe are surprised or touched or where they think I’ve never expected that this would happen, which doesn’t have to be the purpose every evening—I’m not in a circus you know [laughs]. But it’s much more the idea of bringing a real time life into the space where I am performing.

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The surprising thing with ‘Abandoned City’ was how you had the music first and then you came across the whole concept of the photos of these abandoned cities and then putting that to music. I wonder even since performing the music live and all these exceptional releases, it must be giving you a new perspective when you are composing the music with these themes in your mind?

VB: That’s totally true. I think that sometimes it is of course very interesting to do things one-to-one: so if you want to write a love song—you write a love song and sing about love and people in the audience are hugging each other and they know this is the song they want to hear when they are in love. So that is all one-to-one but I think for me personally that doesn’t work. I feel love when I have the space for it so when I can actually decide if I want to be in love or not. It’s the same with music– if you give people the offer that they can come with you they don’t have to, they can stay somewhere else and just maybe slowly come with you or they leave because they are not with you or they come along with you. And it’s the same as with writing about abandoned places, I was thinking about the idea of abandoned places but not in the way that I was thinking that I have to go there by sitting in an abandoned place and play exactly the architecture of a place where I am sitting in. I like much more the idea of putting myself into the situation—my mind into the situation and imagining that I am in an abandoned place. I think that that is very nice because that creates a whole bigger part in your brain where you can actually stay for a long time.

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I love how Side B of the ‘A NDO C Y’ record has those remixes from Devendra Banhart and Eluvium. It must be very special for you, the composer to hear someone’s remix or re-interpretation of your own work it must be very interesting to hear how something is interpreted?

VB: It’s always an awesome part of it actually. I have done that already a lot of times so to speak. The first remix CD that I have done was on my record ‘The PreparedPiano’, I was asking people to do vocal tracks of my versions so I ask singer-songwriters if they could work with the prepared piano pieces. Then I did another remix album to the ‘Salon DesAmateurs’ record where I gave away all the music and they could work on that. And to be quite honest what is very nice about this is it has different purposes: one the fact that your music suddenly appears as a sound source for other ideas so I like actually the levelling that I feel my idea that was maybe the biggest idea in the world for that moment where I created it is actually shrinking to a sound pool for someone else’s ideas. I like that because it put things into perspective and you don’t get too much attached to what you have done—you can pass it on and people can continue them. On the other side it also shows you a lot of different ways of working with your own music which helps me as well to find pleasure in other works. Everyone has their own way of dealing with rhythm and stuff like that and I am so excited about how people are working with that. And so these two remixes are in a way following a tradition that I want to continue forever because I think obviously that means sometimes that you have to find musicians that have the time to do something like that because a lot of times it is not very well paid—a lot of times it’s something that you do because you have a lot of spare time and you want to work with someone’s music. And I am doing the same– I am remixing stuff for many people.

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When you are remixing other people’s work, it must be a very exciting process because it’s completely the other way around?

VB: Yes, absolutely, which is for me as well a very, very nice way of working like starting with my work, for example getting stuff from Devendra Banhart when I did a remix for him, it was so great because I could actually work on a vocal track and find ways of dealing with his music and that is so nice to get to work on something like that and I really love that.

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I must ask about ‘The Boy’ soundtrack which has been another wonderful project of yours of recent times. In terms of the process, it must involve with dealing with much more specific detail?

VB: Mostly all of the musicians that I know that are in the field where I am existing like Jóhann Jóhannsson, Dustin O’ Halloran, Max Richter – all of these guys that I really like – they and I know each other very well and we meet each other every now and then. I think we all are working on a lot of different projects by working with soundtracks, working with dance pieces and doing all sorts of different work in collaboration. What is very nice about that is in a way the work is for everyone quite the same because you have to deal with the imagination of someone else and you have to find a way of giving him/her of not only being this service person you know because of course there is a service involved – somebody is doing a film and they want to have your music and he also has an imagination of where the music can fit – and in the ideal case someone says your music is actually my imagination so please go ahead and do what you like. In the case of ‘TheBoy’, I felt Craig MacNeill, the director was so strongly convinced of my music and that he wanted to have me scoring the film that I was so happy about that and I was really thrilled by that. So I did a lot of work and I didn’t have to re-work too much because in a way it was all quite clear because he really likes what I am doing. And then we had a couple of music exchanges where he was saying “I think this could be a little bitthinner or it could have a little less of this bass” and then we were fine. I liked that a lot because it also gives me the perspective—the eyes of someone else looking onto my music which is awesome.

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I remember the last time we spoke you mentioned about the MDR Symphonic Orchestra in Leipzig. I wonder how has that been going, it must have been another very interesting project?

VB: Now I am so happy that I have done it because I wrote so many pieces for the MDR and we had many premieres, all the things are recorded and now I am looking to maybe release it. I mean there is so much material and I gained so much experience with working with an orchestra and just continuing in all sorts of other ways—I am working with other classical ensembles, I try to find a way of expressing myself on that level as well, which is I think a big challenge. But I like it so much that this is possible and of course the music is completely different because the music is not working with electronic elements, it’s working with more classical instruments and I am trying to translate my music into a classical setting. I think I learned a lot and I was very happy for example that the last concert was filmed by The Boiler Room and it was being shown in the electronic music world and I liked that it was getting some really nice feedback.

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What’s next for you, Volker? As you say there’s probably a few things on the go at the same time?

VB: I am working on a dance piece right now so I wrote the music for that which is also using somehow sound recordings from ‘TheBoy’ because they were very fascinated by this dark inhaling sound on the score so I integrated some string players. I have two more films coming up, one is a Brazilian documentary and the other which is dealing with some refugee lives which is quite an actual theme at the moment but I think they were already creating one-and-a-half years ago. At the same time I am working on music for string players because next year [2016] I have some premieres with a string quartet like commissioned work where I am writing a cello concert, things that are really challenging in a way but I am very happy that I maybe can have a year that I am only committing my work to writing music for others and just keeping my own music a little bit in the background, which always means that I am working and writing new material but I’m not forcing it to get the next album already going. But I have many, many things in my hands that I want to do so that’s what at the moment is in the air.

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I wonder have you been listening to any records of late?

VB: I was listening to the record of Nicolas Jaar which I really like. Well I like his music a lot and I think he is one of the guys coming from the DJ world who are doing great music. Besides that, I am mainly listening to music from festivals because I was invited recently to play festivals and I stayed and listened to bands that I saw. I was really fascinated by the concert of the band Little Dragon, I really love them and they were awesome—it is wonderful music and I really like them. I have many, many unwrapped records where I have hardly no time to unwrap them and give them a listen because the records are coming in faster than I can absorb.

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Lastly Volker, I wonder were there defining records for you when you were younger – before you ever started your solo music path – that really blew you away that you think were huge for you when you were younger?

VB: When I was younger I was in a completely different zone. First there was a lot of synthesizer music at that time when I was fourteen—I was listening to The Alan Parsons Project and all this music that was full of synthesizers, I was interested in Kraftwerk and music that was really pure. In a way, also electronic music at that time but at the same time when I was getting into my first band I was into hip hop music, I was very inspired by music that was – you the whole crossover of music at that time like Red Hot Chilli Peppers and Nirvana and all these bands for me were a very heavy influence. I was really listening to that music a lot and I felt it was very new music for me because it was combining very groovy, solid rhythm section with an interesting way of rapping and singing as well and I liked that a lot. At the same time, I was listening to bands like Arrested Development or Public Enemy, Cypress Hill, a lot of hip hop. And then this disappeared in a way because I was done with music that had form and hip potential and then I went into abstract electronic music, I was a big fan of Oval and Mouse On Mars. Mouse On Mars were actually a band from Dusseldorf so I was going to their studio every now and then and I was feeling attracted to what they were doing. So that helped me as well to be around them or to be in the area, it helped me to get closer to what I wanted and so in a way this was music that was influencing me a lot and then I slowly got into my solo music.

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For the latest news, projects and releases from Hauschka, please visit:

We’re delighted to present the first in a new series of monthly mixes made for Paris-based music website La Blogothèque. Over the last six years, La Blogothèque has been a source of much inspiration, not least in how they showcase (and share) their true passion for music. While each mix will be published on La Blogothèque’s website, we will also post the mixes on our own Mixcloud Page. While we had made the decision to stop Fractured Air last November, the opportunity that presented itself with contributing for La Blogothèque gave us reason to resume – in the capacity of contributing mixes – for the coming months. We hope you enjoy them.

Compiled by Fractured Air, January 2016. The copyright in these recordings is the property of the individual artists and/or record labels. If you like the music, please support the artist by buying their records.

“So much of what we do comes from tone and timbre, what the sound waves are doing that day in the room with the moisture or lack of. How high is the ceiling? The wood in the walls or the adobe, the thickness of the strings, the loudness of the amps, they all come together when the silence is broken the tide comes in.”

— John Convertino

Words: Mark Carry

The arrival of a new Calexico record is always a cause of celebration and pure joy. Since first discovering the Tucson, Arizona collective’s shape-shifting music – circa 2000 with the mariachi infused opus of ‘HotRail’ – Calexico’s songbook has proved the most pivotal and endearing of artistic creations that seamlessly seeps into your veins and hits directly to the heart’s core. Last spring saw the eagerly awaited new full length release, ‘Edge ofthe Sun’; a sonic marvel of a record that stands tall as the band’s strongest work to date. Like a river finding its sea, a natural ebb and flow ceaselessly permeates from the well-cultivated sounds and timbres cast by the core duo of Joey Burns (singer, songwriter, multi-instrumentalist) and John Convertino (drums, songwriter, percussion, vibes).

The jubilant album opener ‘Falling FromThe Sky’ contains the stream-line approach the band previously utilized on the highly under-rated ‘GardenRuin’ record with a rejuvenating brass section and the mesmerizing synth-led melody (courtesy of multi-instrumentalist and co-producer Sergio Mendoza). In addition, Band of Horses’ Ben Bridwell adds vocals. The lyric of “like a bird lost inside the cloud/cut off from the stars” evokes the vivid sense of searching that flickers like rays of sunlight throughout the record’s sprawling canvas. A brooding atmosphere exudes from ‘Bullets &Rocks’; reminiscent of ‘Bend To TheRoad’ (live cut) from the ‘Carried ToDust’ tour. The multi-layered electric guitars conjures up the timeless sound of ‘Zuma’ era Neil Young (or vintage Iron & Wine whose frontman Sam Beam joins Burns & co, in turn, forming a fitting parallel to 2005’s collaborative ‘In TheReins’ EP). “Families disappearto the dark of the night” evokes a loss, pain and suffering; lying at the heart of the “devil’s highway” but the light of hope undeniably prevails through the shimmering darkness.

‘When TheAngels Played‘ is a stunningly beautiful country lament recalling Gillian Welch and the heart of the great American songbook; a Dylan-esque folk splendor which could be a distant companion to (the previously recorded Pieta Brown duet) ‘Slowness’. The sublime ‘Cumbia deDonde’ brings the whole latin world to new dimensions, as Manu Chao and off-shoot Buena Vista sound systems flicker onto the horizon. The arrival of Spain’s Amparo Sanchez is akin to a spiritual journey as a lost brother to ‘GueroCanelo’ comes to the fore. ‘Cumbia deDonde’ somehow sits at the intersection between ‘Roka’ and ‘GueroCanelo’ creating, in turn, a spiritual journey: a road trip of epic proportions.

‘Tapping On TheLine’s chorus refrain resonates powerfully as Burns asks, “could you step alittle bit closer to the line?“: a song which shares the spirit of ‘Nebraska’ era Springsteen; charged with a gripping immediacy and vital pulse. ‘Miles FromThe Sea’ represents one of the album’s defining moments and undoubtedly one of the most formidable Calexico recording ever put to tape. The chorus refrain is immaculate as Burns sings of “dreams about swimming miles away from the sea“. The vast blue seas of the human heart is explored from the skies above to the seas below. ‘Woodshed Waltz’ is a pristine slice of divine americana. Sonically, it takes me to ‘Toolbox’ (the band’s towering instrumentals-only album) where the burning spark of creativity and spontaneity radiates throughout. The rise/bridge is one of the album’s endearing moments. A song about letting go, moving on. Another songwriter’s song. ‘Moon NeverRises’ is steeped in new and compelling sounds. The nuances and textures added by guest vocalist Carla Morrison brings forth a cinematic feel as new sonic terrain is masterfully explored.

The opening section of ‘WorldUndone’ – Burns’ hypnotic acoustic guitar is beautifully melded with Convertino’s meditative drums – shares a similar sound world to the band’s instrumental cut ‘Above TheBranch’. The (singular) aesthetic created by the duo of Convertino’s drums and Burns’ guitar unleashes a staggering beauty that creates a resolutely unique and singular sound (kindred spirits such as White/Ellis/Turner and Davis/Coltrane also come to mind). There is something magical about how ‘WorldUndone’ unfolds. The stunning vocal delivery of Burns (joined by Devotchka’s Nick Urata) is a joy to witness as Burns sings “waiting for thedevils to come“. The way in which this tour-de-force builds and evolve, represents the immense power and glory of the ‘Edge ofthe Sun’ as a whole. The cathartic energy of ‘BlackHeart’ is likewise emitted here: “the world’s comingdown“.

‘Follow TheRiver‘ is another milestone in the sacred songbook of Calexico, reminiscent of ‘Epic’ where a healing quality and power of redemption abounds. In the liner notes of the band’s retrospective ‘Road Atlas’ (1998-2011), Fred Mills wrote: “But it’s not until you take in the entirety of the group’s sprawling discography that the sights, smells, textures and timbres of the Calexico experience fully reveal themselves.” As ever, one feels the emotional thread embedded deep in the songs: a common thread that connects all the band’s studio albums, tour cds, collaborative releases to date.

Congratulations on the truly inspiring and captivating new record, ‘Edge of the Sun’; a sonic marvel of a record. You, John and the entire Calexico family should feel deeply proud. A world of detail and intricate layers of immaculate instrumentation are rooted in these songs; some new elements that I haven’t heard before in a Calexico studio album. As ever, an emotional depth of rich intensity & magnitude permeates the headspace and a cosmic spirit that captivates the heart.

Please discuss the making of ‘Edge of the Sun’ and particularly the Mexican city of Coyoacán where the album was recorded. Similar to how you decided to record ‘Algiers’ in the aforementioned New Orleans neighbourhood, as ever you all must have soaked up the surrounding city’s culture and neighbourhood that seamlessly tapped into the album’s twelve gems?

John Convertino: Thanks so much for all the compliments, careful listening, and insights to the new record. As with ‘Algiers’, we felt we needed to get to a place that had the space for us to focus on the album and songs, to put ideas down whatever they may be, and to spend some time together without having the responsibilities of home life. Coyoacán like Algiers has a great vibe and history to think about as you go for walks or runs in the park. Where we lived and recorded there was a courtyard and big trees that gave you shelter from the big city outside, we had two meals a day prepared for us with love, so we never had to worry about what and where to eat, the energy was strong, and we were able to get a lot work done and some sightseeing as well.

Joey Burns: It was important just as it was making ‘Algiers’ to go somewhere for 12 days where we could eat, sleep and breathe music. It really helps to get the ball rolling when we can focus on writing like that. Being in Mexico City was a plus. The food, people and sights all help make for a special experience. One day we went with a friend to see the work he had been doing on Pedro Reyes’ art piece “Disarm”. He was helping Reyes build musical instruments out of pieces of broken weapons seized by the Mexican government from the drug cartels. We got to see a rehearsal and even try playing some of the instruments. I tried the electric bass, guitar and cello, John checked out the percussion which was all midi controlled and Sergio was intrigued with the violin. The symbolism was beautiful and inspired us all.

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What is most special about the Calexico songbook (and indeed becomes the essence of the band’s rich legacy) is the deeply enriching narrative that flows throughout each record where one flows into the next like a river finding its sea. ‘Edge of the Sun’ continues this search for hope in the depths of despair; a strive for a better life; dreams of better days. I would love for you to discuss the themes of the new album and what ideas and concerns you felt were important to address on ‘Edge of the Sun’?

JC: I agree with you Mark, I think Joey and his brother John, as well as Pieta Brown and Sergio Mendoza all came up with some of the best lyrics yet for the record. I find that immigration and borders have been continual themes throughout all of our records, and now that we have become so familiar with those themes I believe there is greater clarity in how we feel about these issues therefore translating into the songs in a natural way. As we all get older, it becomes more and more apparent that it’s not always easy being a human on the planet. There are so many misunderstandings and communication can so easily break down, what may be such a brilliant thought comes out sounding completely wrong, it takes time to formulate how to verbalize what your feeling, maybe it comes easier as you get older, maybe not, it could just be more familiar ground. I think this is an apparent theme in the record.

JB: I wanted to acknowledge the difficulties in life, the things we all share and have to endure and yet I wanted to the music to help balance that and give a sense of hope. Near the end of the album sequence the song “World Undone” shows signs of grief from the character’s perspective and by the final track “Follow The River” that same character has found a way out of despair to recognize there’s a glimmer of hope on the horizon. Transformation is part of the process and every album takes on a slightly different direction. Sometimes they parallel the world around us and other times they map out the emotional paths we are on.

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The ocean (and possibly your upbringing in LA) and “dreams about swimming/miles away from the sea” on ‘Miles From The Sea’ feels a distant companion to similar themes explored on ‘..Not Even Stevie Nicks’, ‘Sinner In The Sea’ and indeed several aspects on ‘Carried To Dust’. Please discuss these re-occurring themes that are wonderfully re-visited here?

JC: I’ve always wondered about that too, I know it’s really a question for Joey, but having lived in the desert for so many years I have thought of water and the ocean more than when I lived in Los Angeles. Water is such a huge part of life, it is life, water and sun and all the elements. Living in El Paso Texas now, I have visited the wonderful Chinoti foundation a few times and have become a fan of Donald Judd. The massive concrete squares with the bright blue desert sun behind them bring to my mind the beginning of creation, that bang, the snare drum crack that sparked us all into being….there is that moment when the silence is broken, the wave crashes and the world keeps moving.

JB: I wasn’t sure about this song lyrically. I sent it to my oldest brother John who is a good source for feedback and inspiration. He helped with some of the lines in the verses and was supportive for keeping the lines in the chorus which I wasn’t so sure I wanted to keep. For sure there are themes of nature and specifically the ocean that have made an impact on my writing. However recurring they may be I try to shed new light on them with each song. I was surprised when doing some interviews in Europe that this song was some of the writers’ favorite song.

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Collaboration has always been integral to your work but with ‘Edge of the Sun’, the spirit of collaboration is taken to new heights and possibilities. I feel this spirit of togetherness and an openness radiates throughout these soaring songs. Talk me through please the songs and the guests on each track? One of the formidable highlights is Mexican chanteuse Carla Morrison’s vocals on ‘Moon Never Rises’. It is also beautiful to witness the many special souls who have served a vital pulse to the Calexico songbook, including Amparo Sanchez, John Burns, Sam Beam and Neko Case. It is hardly surprising that ‘Edge of the Sun’ quickly becomes a source of comfort and solace.

JB: The idea of inviting guests was something that Christof Ellinghaus had once suggested a few years ago. “Make a record of duets with guest singers” is what he suggested. It wasn’t until after Sam Beam sent his vocals for “Bullets & Rocks” did I even consider asking other musicians to sit in on this album or for it to become such a developed theme on this album. We for sure wanted to invite some of our favorite musicians from Mexico on the album. Having Carla Morrison was a big deal as she is super busy and we had never met before. Fortunately we know her manager, Gil Gastelum who used to live in Tucson and he helped arrange for her appearance as well as Gaby Moreno’s. We were really hoping that Camilo Lara could contribute some tracks since he was in a way responsible for us getting to Coyoacán and working at his friend Ro Velazquez’s home studio.

Having Neko Case on one of our albums definitely was something we had always wanted to do since we do so much work on her albums, so we were extremely grateful when she took time out the day she played Tucson with her band The New Pornographers. She nailed it and then gave us all hugs and ran onstage. Incredible! Sergio’s lap steel player in his band suggested that we contact members of Band of Horses and made the introduction. He knew that we were trying to get someone to sing on “Falling From The Sky” and when he made the suggestion to ask Ben Bridwell, I instantly knew it could be a good match and it blew me away. It still stands out as one of the most impressive collaborations for me. Pieta Brown is another good friend who has offered up lyrics in the past, “Fortune Teller” for example. When I read her first lines of “When The Angels Played” I felt a connection immediately. Sure enough it came together quickly and John and I tracked the song one late night in Coyoacán.

Amparo Sanchez has long been a big influence and we were excited to hear her bring some fire to “Cumbia De Donde“. Sergio has been performing with DevotchKa on tour for several years and he suggested asking Nick Urata to sing on “Follow The River” which again was a big surprise to hear his incredible vocals take the higher harmony and make the song go somewhere else. “Coyoacán” features an outstanding harp player from El Paso, Adrian Perez who we’ve worked with at live shows with Mariachi Luz de Luna here in Tucson. He comes to town a fair amount so I had him come in and try not only a pass on this song but add some Kora style lines on “Bullets & Rocks“.

JC: All the guests came about in such a natural way, there towards the end of the recordings when the songs were established Sergio would encourage us to add vocal guests, as in the case with Carla and Gabby, who we didn’t even know, and from there inviting our friends who we knew could help us out so much, it was always such a treat to hear what they would come up with, Ben and Sam living with the songs alone in their own home studios and coming up with parts that took the songs to different places. Neko taking the time on tour to drop by the studio and make one of my favorite moments on the record in “Tapping On The Line”. It really became a part of the whole record to have guests.

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The stunningly beautiful ‘Follow The River’ brings the album to a fitting close. The immediacy and honesty hits you profoundly, where a soul’s heart is laid to bare. The harmonies, striking vocal delivery, accordion, lapsteel, drums conjures up a timeless and mesmerising sound. Can you recount your memories of writing and recording this particular track please?

JC: One of my favorites too. Being there in Coyoacán and hearing Joey and Sergio playing guitar and vehuela outside in the courtyard, and then stepping into the studio and recording the idea in that natural cut time feel, it quickly became a favorite because of its ease, like it was so meant to be here. And then to have Nick Urata from Devotchka add his vocal layer put the song into that blue mood even further.

JB: This was based on an idea that we came up with while writing in Mexico City. Sergio started with playing a vihuela rhythmic pattern, and I came in with nylon acoustic guitar suggesting certain chords to follow his motif. We re-recorded the idea in Tucson with a full drum sound and upright bass with a few overdubs of piano and vibraphone. John really liked the minimal arrangement, but I heard some other parts that could help make some of the transitions from verse to chorus and to bridge sections. So we added very minimal trumpet parts from Martin Wenk and Jacob Valenzuela as well as a gorgeous pedal steel part from Paul Niehaus. Some of the Brian Eno sounding synth parts were from a pocket piano synthesizer that wound up on a lot of tracks on this album.

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‘Cumbia de Donde’ feels a lost sister to ‘Guero Canelo’ from ‘Feast of Wire’ or even ‘Roka’s Danza de la Muerte. I feel the energy of Calexico’s live concert is effectively translated to the sprawling canvas of ‘Edge of the Sun’. I’m sure it is an extremely exciting prospect to be in the midst of touring this new record. Talk a bit please about the space and aesthetics that inhabits each and every Calexico song? I feel this remains the trusted constant and magical spark to the unique sound of this ever-evolving ensemble.

JB: We wanted to show the variety inside our band, and so every track takes its own path and highlights different sides to the band’s musical styles. The last album “Algiers” was more focused style wise and this time out and reflecting the vibrant spirit that Mexico City exudes, we wanted to change it up. I will speak about “Cumbia de Donde” a little bit. This was influenced from spending time in Mexico and was written after the trip and recorded the first day at Wavelab Studio in Tucson. I had an idea of recording a few snippets of instrumental cumbia tracks to have come in and out of the record. This one turned out so good that we decided to make a full on song out of it. There’s a lot of distortion on the bass, percussion and vocals. We wanted to give this song the werewolf treatment and give it some teeth.

JC: Another fun one for me, I came in the next day after they had recorded this romp to a click track, and found myself a beat to play over it. In reality the beat I am playing is not a cumbia beat, it’s something else I don’t know what, but it’s not cumbia, and playing the song live I am still figuring out what to play….maybe I could try a cumbia?

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Beginning back in the 90’s, you’ve been collecting musical instruments, which has been an important part to the creative process. I’m curious to know what new instruments or new tones/textures were added to the sonic palette of ‘Edge of the Sun’? One of the striking aspects to the new record is indeed the wide range of sonic timbres utilized on ‘Edge of the Sun’.

JB: The most impressive addition to the sounds on this album are the jalisco harp featured on “Coyoacán” and the Greek instruments; the kanun and bouzouki featured on “World Undone“. Oh yeah and how could I forget the addition of the pocket piano by Critter & Guitari. It’s an addicting little keyboard. Be careful when you bring it to the studio. My twin daughters Genevieve and Twyla loved playing with it at home.

JC: I did get a new drumset, something I thought I would never do, I love my vintage instruments so much. But this father and son company called C&C make these drums so much like the old ones, and even better, the tones gave me great inspiration. So much of what we do comes from tone and timbre, what the sound waves are doing that day in the room with the moisture or lack of. How high is the ceiling? The wood in the walls or the adobe, the thickness of the strings, the loudness of the amps, they all come together when the silence is broken the tide comes in.

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In terms of the production, it was very much a shared experience between the core duo of Burns, Convertino, but this time out, Sergio contributed a lot to this side of the music. I would love for you to recount your memories of this process of the music-making process?

JC: Sergio is positive force; he is ready for the challenges. Coming up with something out of nothing can be like digging ditches some days, you got to have the strength. He has it. I think too, I was not there this time for a lot of the process, using email and texts don’t always translate well, so for this it was great have Sergio there to bounce ideas off of in the mixing process.

JB: It was helpful having both Ryan Alfred on bass and Sergio Mendoza on keyboards in the studio while recording the foundation for the songs. I know it helps out a lot with locking in to the groove. In addition I really enjoy recording with just John and myself as well. So we did some sessions as a two piece and came up with a bunch of basic tracks for songs like “Miles From The Sea“, “Woodshed Waltz“, “Bullets & Rocks” and “When The Angels Played”. John was there for the recording of basic tracks and Sergio was super helpful for me personally being there everyday and supportive on finishing the whole album including reaching out to guests. The studio engineers get overwhelmed with all of the ideas and possibilities, and I am sure the other band members do as well. But Sergio was good at helping me make decisions on what songs to focus on and to finish.

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Please pick one song you feel most proud of and reminisce for me the song’s inception and blossom into its final entity?

JB: “World Undone” was started at home with a simple melody line. While I was driving into the studio that morning I listened to Bill Callahan’s ‘DreamRiver‘ album and thought it would be interesting to try a similar minimal approach. Tracked live, Sergio Mendoza and Ryan Alfred accompanied John and I on ambient guitars instead of keyboard and bass. This helped free up the form and allowed us to experiment more with a live take between my guitar and John’s drums. I like this version of the song and even though I kept wanting the dynamics to build more. That is the beauty of a live take. We did however make an edit so that the song was 4 minutes long and not 7. I think that helped a lot especially in wanting to release so many songs on the album.

Months later while on tour in Greece we added some musicians from the band Takim which really helped outline the melody with bouzouki and oud, plus doubling an electric guitar part with violin. The harpsichord sounding texture that weaves in and out of the track is the kanun, a traditional hammer dulcimer type instrument. When Craig Schumacher went to mix the song he noticed there was no bass and so he added a Moog synth bass which I like a lot and was a nice surprise when listening to his mix. When I played the album to our live engineers in Holland both Patrick Boonstra and Jelle Kuiper commented that this was their favorite song. It was hard choosing which songs out of the 20 we had finished were to be on the album. I’m glad that “World Undone” made it to the album.

JC: I like them all, and that becomes a problem because I was thinking they all should be on the record, but that makes a record long and who has time to listen to long records??? People download songs now, and that’s the world we live in. I have to believe that if all the songs are available in the digital world, people will find them and like them if they take the time to dig.

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What books, records, films have served inspiration these past few months for you?

JC: As I mentioned before the Donald Judd exhibit in Marfa was in my mind. I’ve been reading the Morrissey autobiography and loving it. His writing and insights to poetry and music is something I can relate to very closely. And I appreciate so much his honesty, even in the most difficult of situations being in a band, the business, fame and all the rest of it.